#The Isabella Stewart Gardner Museum Theft

[blueiscoool]

The Isabella Stewart Gardner Museum Theft

Five things you probably didn’t know about the biggest art heist in history

Most art galleries and museums are famous for the art they contain. London’s National Gallery has Van Gogh’s “Sunflowers”; “The Starry Night” meanwhile, is held at The Museum of Modern Art in New York, in good company alongside Salvador Dalì’s melting clocks, Andy Warhol’s soup cans and Frida Kahlo’s self-portrait.

The Isabella Stewart Gardner Museum in Boston, however, is now more famous for the artwork that is not there, or at least, that is no longer there.

On March 18 1990 the museum fell prey to history’s biggest art heist. Thirteen works of art estimated to be worth over half a billion dollars — including three Rembrandts and a Vermeer — were stolen in the middle of the night, while the two security guards sat in the basement bound in duct tape.

The robbery is a treasure trove of surprising facts and unexpected plot twists. Here are five things that make the Isabella Stewart Gardner Museum, and its famous theft, so interesting.

The woman behind the building:

Isabella Stewart Gardner, the museum’s founder and namesake, is a fascinating character. The daughter and eventual widow of two successful businessmen, Gardner was a philanthropist and art collector who built the museum to house her stash.

“When she opened the museum in 1903 she mandated that it be free of charge, to gain the appreciation and the attendance of all of Boston,” Stephan Kurkjian, author of “Master Thieves: The Boston Gangsters Who Pulled Off the World’s Greatest Art Heist”, said in the programme. “Her museum, at that point in time, was the largest collection of art by a private individual in America.”

Gardner also had links to the fledgling campaign for women’s political rights. The museum displays the photographs and letters of her friend Julia Ward Howe, an organizer of two US suffrage societies, and a print of Ethel Smyth, a composer and close friend of the English Suffragette leader Emmeline Pankhurst.

Gardner met Smyth through their mutual friend, the painter John Singer Sargent, whose portrait of Gardener raised eyebrows for the low-cut neckline he gave her.

Gardner seemed to enjoy flirting with scandal and gossip: she once arrived at a Boston Symphony Orchestra performance in a hat band emblazoned with the name of her favorite baseball team, Red Sox, and an illustration in a January 1897 edition of the Boston Globe showed her apparently taking one of Boston Zoo’s lions for a walk.

Somewhat ironically, when the Mona Lisa was stolen in 1911, Gardner told her museum guards that, if they saw anyone trying to rob them, they should shoot to kill.

The art not taken:

The thieves’ loot is estimated to be worth over half a billion dollars. However, they left the building’s most expensive artifact: “The Rape of Europa” by Titian, which Gardner bought from a London art gallery in 1896, then a record price for an old master painting.

Why commit history’s greatest art heist and leave without the priciest piece in the museum? Well, size may have played a role. The largest artwork taken was Rembrandt’s “Christ in the Storm on the Sea of Galilee,” famous for being Rembrandt’s only seascape and measures roughly 5x4 feet. “The Rape of Europa,” meanwhile, is larger, at nearly 6x7 feet.

The Napoleon factor:

Around 2005, the investigation into the stolen artworks took a detour to the French island of Corsica in the Meditteranean Sea. Two Frenchmen with alleged ties to the Corsican mob were trying to sell two paintings: a Rembrandt and a Vermeer. Former FBI Special Agent Bob Wittman was involved in a sting to try and buy them — but the operation eventually fell apart when the men were arrested for selling art taken from the Museum of Modern and Contemporary Art in Nice instead.

Why would “Corsican mobsters,” as correspondent Randi Kaye described them in the programme, be interested in robbing a Boston art museum? The answer could lie in the Bronze Eagle Finial, the 10-inch ornament stolen from the top of a Napoleonic flag during the heist.

“It was sort of an odd choice for the thieves to take (the Finial),” Kaye said, “but it turns out that Corsica is essentially the homeland of Napoleon.” The French emperor was born on the island in 1769, and a national museum is now housed in his former family home.

“It is a very compelling notion,” Kelly Horan, Deputy Editor of the Boston Globe, said in the programme, “that a Corsican band of gangsters might have tried to steal back their flag and pull off the entire rest of the heist in the process.”

A rock’n’roll suspect:

March 18 1990 was not the first time a Rembrandt had been stolen from a Boston museum. In 1975, career criminal and art thief Myles Connor walked into Boston’s Museum of Fine Arts, and walked out with a Rembrandt tucked into his oversized coat pocket. He was the FBI’s first suspect in the Gardner case, however the walls of federal prison — where he was incarcerated on drugs charges — gave him a pretty solid alibi.

When he wasn’t lifting famous artworks from their displays, Connor was a musician. It was through gigging that he met Al Dotoli, who worked with stars including Frank Sinatra and Liza Minelli.

In 1976 Connor was jailed for a separate art theft committed in Maine. Hoping to use his stolen Rembrandt to leverage a lesser sentence, he needed Dotoli — who was on tour with Dionne Warwick — to turn the painting in to the authorities on his behalf.

An invisible thief?

One of the stolen artworks, Édouard Manet’s “Chez Tortoni,” was taken from the museum’s Blue Room on the first floor. The painting stands out for two reasons, the first being its frame. The thieves left almost all of the frames behind, cutting some out of the front.

“To even leave remnants of the painting(s) behind was savage,” Horan said. “In my mind, it’s sort of like slashing someone’s throat.”

The “Chez Tortoni” frame was unusual for where it was left, though: not in the room it was stolen from, but in the chair of the security office downstairs. Even more remarkable, not a single motion detector was set off in the Blue Room. Bar investigating the possibility of ghost robbers, investigators wondered if this pointed to the plot being an inside job.

“At the FBI we found that about 89% of museum institutional heists are inside jobs,” Wittman said. “That’s how these things get stolen.”

By Caitlin Chatterton.

[pppaperwork]

Wealth & Status in Baroque and Rococo

Having it all must be tough :(

There are never ending decisions to make, about silly things like ideal garden shrubbery height, drapery thread count, ornate frames, silver, or gold? To show it all off or to cover it up? To spend or to save? To invest in the Church or one's own extravagant lifestyle? Virtuous piety or worldly comforts?

To nurture Faith or Ego?

Ceiling painted by Johann Baptist Enderle, 1772

Jean-François de Troy, The Declaration of Love (1731)

All these competing ideals are exactly what set the Baroque and Rococo periods apart.

Let's start at the beginning - well, sort of - with Baroque.

Artemisia Gentileschi, Judith and Holofernes 1612-13

Throughout Europe Catholicism sees a decline in followers going into the 17th century, due to popularization of Marin Luther's Protestant reformation.

Protestantism came as a response to shady behavior within the Catholic Church, which had previously held unchallenged cultural and political power. This 'divine' power within the Church attracted wealth, and wealthy people looking to buy in.

I cannot stress enough how motivated by money the Catholic Church was at this time. Many Popes like Leo X actually sold physical certificates called 'indulgences' which were essentially Fast-passes through Purgatory, should its keeper die before confessing their sins in penance.

Through generous donations to the Catholic Church, one could actually buy themselves a ticket into heaven, circa ~ 1550.

This wasn't great optics to German monk, and founder of Protestantism, Martin Luther. And many people agreed, causing a novel decline in Catholicism. The Roman Catholic Church desperately needed a rebrand.

Caravaggio [?] , The Crowning with Thorns, 1603

Baroque paints Catholicism in a more virtuous, penitent, moody, and modest light. Visual elements like high contrast light and shadows, mostly religious imagery, "normal" looking figures that no longer strive to be the Renaissance's perfect man, nor Rococo's dashing picture of youth and indulgence, they look like us.

It's hard to say if the Baroque art movement really saved the Church from losing followers, but it did spark a global popularization of Baroque and is responsible for subsequent movements in fine art and architecture across the world!

ie. the global Baroque, Rococo, heavy influences on the Dutch golden age of painting.

Church of St. Peter of Andahuaylillas - Peru, 1620s

Rembrant, Lady and Gentleman in Black and Christ in the Storm on the Sea of Galilee, 1633, Dutch [missing from ISG Museum since 1990]

Jean-Honoré Fragonard, The Progress of Love: Love Letters, 1771-72, French

In the century to follow, Baroque artwork would become a status symbol in itself, along with its pious and devout lifestyle.

French aristocrats and artists like Fragonard coming into the 18th century rejected this ideology, along with King Louis XIV's frugal, somewhat Baroque style of ruling. Rococo takes clear visual elements of Baroque and applies them to a generally more frivolous, lighthearted, romantic subject matter, with clear emphasis on material wealth.

Wealth was shown and represented in excess, lifestyles full of lush scenery and architecture like Versailles. Material goods and conspicuous consumption ruled the aristocratic nobility (art buying community) at the time.

In the Rococo period once again, in Renaissance fashion, art patrons are shifting toward a search for aesthetic perfection, beauty, and divinity in humans and on earth.

A harsh contrast from a hundred years prior, in the midsts of Baroque's influence of frugality, devotion to faith, and denouncement of worldly comforts. This shift could have many catalysts, including the continuing spread of Protestant religions, or the rebellion against a previously strict, sometimes oppressive, religious church-state under the reign of Louis XIV.

Tapestry L'Aurore et Céphale, from Les Tentures de François Boucher Series, Painted by Francois Boucher, 1776-77, French

The Studio, Honoré Daumier, 1870, French

Ultimately, today the Rococo period is iconic in reference to the French Revolution.

Similarly to Rococo's start, as a rebellion against a meek and mild social norm, Rococo's end is tied to the death of the French noble class; at the hands of French citizens who were facing the consequences (famine, poverty, poor living conditions) of the French Nobility's over-indulgent, expensive lifestyle.

I can only assume that after the torches, pitchforks, and guillotining of the French Monarchy, Rococo's frills and embellishments probably seemed pretty... cringe.

Portrait of the Marquise de Pompadour by Maurice Quentin de La Tour, 1755 (Rococo)

The Execution of Louis XVI by H. de la Charlerie, 1793 (Neo-classical)

The Death of Marat, Jacques-Louis David, 1793 (Neo-classical)

[o-the-mts]

23 years ago…

[timmurleyart]

Thief in the night. 🍇🖼(mixed media collage)🌟✨

[triflingthing]

Isabella Stewart Gardner Museum, home of the biggest known art theft in history.

[memecucker]

There's literally no such thing as "art theft" lmao. You're a reactionary.

The 1990 heist of the Isabella Stewart Gardner Museum in Boston resulted in the theft of estimated to be around $600million making it the highest valued art theft in history and one of if not the largest unsolved heists in modern history

[carveredlunds]

So, I just found @interviewwiththevampireart, and it inspired me to look for this portrait in the dining room of the Dubai apartment (screenshot from 1.02):

It took about two minutes of Googling to find out that it's Rembrandt's Christ in the Storm on the Sea of Galilee, painted in 1633.

This is from the Wikipedia entry on the painting:

Christ in the Storm on the Sea of Galilee is a 1633 oil-on-canvas painting by the Dutch Golden Age painter Rembrandt van Rijn. It is classified as a history painting and is among the largest and earliest of Rembrandt's works. It was purchased by Bernard Berenson for Isabella Stewart Gardner in 1869 and was displayed at the Isabella Stewart Gardner Museum in Boston before its theft in 1990; it remains missing.

This is such a small detail, but it just proves how amazing the set design is in this show. Loumand have one of the most famous missing pieces of art in America just hanging in their dining room. I'm sure other people have noticed this before, but I thought it was so cool, and I wanted to share!

[relevant-wikipedia-articles]

TRICK OR TREATT 🎃

[whataperfectwasteoftime]

Marcus Pike Masterlist

Born to Run** (Marcus Pike x f!Reader)

Marcus is sent on a vacation to a cozy cabin on a wooded bike trail by his coworkers after his devastating breakup with Theresa. You are training for your upcoming marathon on the same bike trail when one of your runs is interrupted by a creeper on the trail, and you are ‘saved’ by a handsome stranger with a tragic (recent) past… Content Warnings: BDSM

Common Grounds** (Marcus Pike x f!Reader)

Stop me if you've heard this one: a handsome stranger walks into a coffee shop.

Forgive These Bones I'm Hiding | Part 2** (Serial Killer!Marcus Pike x Police Officer f!Reader)

When five paintings are stolen from their frames, an unusual crime for your small-town precinct in Hannibal, Missouri, it's easy for you to project your insecurities about being a female police officer in a tiny, Midwest town onto the handsome FBI Agent from Washington who arrives to help with the case. But as your disposition--and the solid walls you've built around yourself--begin to soften, you quickly find you have bigger problems than the charming man you can't help but develop feelings for. One by one, bodies are starting to pile up. Bodies that all seem to share one connection… You.

How to Kill an Immortal** (Marcus Pike x OFC)

There is a strange magic that surrounds the life of Marcus Pike. Born in Medieval York in the 1300s, he realizes that he is not aging like other people. For seven hundred years, he wanders the earth, falling love over and over again due to his caring nature. When a new art theft case takes him back to York, Marcus searches for a way to bring an end to his unnaturally long life, so he can finally be at peace.

Intimidation Tactics** (Marcus Pike x you x Dave York)

You and your partner, Marcus Pike, are investigating a case that brings you far too close to something much more dangerous than your average art thief.  

le Palais des Roses** (Marcus Pike x f!Reader)

A Moulin Rouge AU

The Rift** (Marcus Acacius x Marcus Moreno x Marcus Pike x Reader)

Marcus Moreno and the Heroics managed to contain the detonation of a supervillain's black hole bomb in the middle of Washington, DC, but the energy blast created a mysterious crack in the middle of Pennsylvania Avenue. Scientists are calling it a rift in time and space. Marcus Moreno calls it a logistical security nightmare. Several weeks after the Rift opens, unusually well-preserved ancient Roman artifacts begin to flood the black market, inundating Special Agent Marcus Pike's team with work. He enlists you, a Classical Archaeologist with a focus on Imperial Roman art and a curator at the National Gallery of Art, to assist his team in identifying the growing pile of smuggled artifacts. Despite the Heroics' desperate attempts to close the Rift, it's only a matter of time before something much larger than gold coins makes its way through the crack in spacetime and onto the streets of DC... Or: Three people named Marcus are smooshed together into the same space.

Again, Again** (Marcus Pike x f!Reader)

Marcus comes home to surprise you with lunch. In the end, who's the most surprised? Content Warnings: Contains CNC

All the Time in the World** (Marcus Pike x f!Reader)

You’ve never been able to climax without the aid of a vibrator. Due to your insecurities and internalized shame, you rarely involve any toys during sex with a partner, and have been “faking it” for years. You and your new boyfriend, Marcus Pike, have been taking your relationship very slowly–building up a beautiful connection without ever having seen each others’ bedrooms. Two months in, neither of you can wait any longer. How will Marcus react when he discovers the thing you consider to be your deepest, darkest secret?

The Art of the Double-Cross (Marcus Pike x Reader)

“People have been trying to solve the Isabella Stewart Gardner museum theft for decades,” she says quietly, putting her hand on his arm. “Decades, and yet you find the one detail everyone else had overlooked.”

Best Bike Crash Ever (Marcus Pike x f!Reader)

After a hit and run at a crowded intersection, you are suddenly very intrigued by your rescuer–the cute FBI Agent who just happened to be a bystander.

The Crucible** (Marcus Pike x f!Reader)

Marcus Pike’s latest case takes him undercover to a BDSM club. When he’s called to participate as a dom in a scene with an unattached sub, will he be able to keep his focus on the task at hand?

Everything** (Marcus Pike x f!Reader)

Marcus is obsessed with your ass.

Lead Me Not Into Temptation** (Priest!Marcus Pike x f!Reader)

[Based on the prompt: "Priest Marcus Pike, praying next to the bed he just annihilated a pretty parishioner in"]

No Net Ensnares Me** (Victorian Marcus Pike x f!Reader)

Co-Written with @littlebirdsbookshelf

Of All the Gin Joints...** (Marcus Pike x f!Reader)

You and Marcus are both trying to re-enter the dating scene after bad relationships, and you’ve been set up on a blind date. You really hit it off, but after a few dates, it seems like Marcus is being really distant. Before you can ask him about it, you run into someone from Marcus’s past…

Pizza Comes Third** (Marcus Pike x f!Reader)

You’ve harbored a crush on your partner in the FBI Art Crimes Department for ages. When he accidentally knocks over your purse and a recent sex toy purchase falls out, how will he react? And how does acclaimed boy-scout Agent Marcus Pike know anything about nipple clamps?

Spilled Ink (Tattoo Artist Marcus Pike x f!Reader)

Uhhh Marcus Pike as the world's softest tattoo artist that's it that's the fic.

Spring Fling** (Marcus Pike x virgin!f!Reader)

When you and your friend, fellow pre-Law student Emma, plan to go to Washington DC for spring break instead of the typical beach destination, she makes plans for the two of you to stay with her estranged father for the week to save money on lodging. You never expected Emma’s father, a man she says she’s barely seen throughout the years, to be so sweet, so troubled, and so unfairly pretty. Neither did you expect for what you’d thought was a one-sided attraction to turn into a spring fling… or maybe something more.

What A Pair We Make** (Marcus Pike x f!reader)

A series of short scenes depicting a very loving growth and evolution of a dd/lg relationship with Marcus. Content warnings: dd/lg

Date night**

It's me (I'm the problem)

Pregnancy sex with Marcus**

Slow Dancing [Iron Chef 30 Min. Challenge #1]

First Time BDSM Ask**

Kelli's Unhinged BJ Ask**

Marcus Kink Prompts Masterlist (Ask Game)**

Soft Dom Marcus (Brat-Taming Ask)

[thebunnycruise]

National Treasures

Poppy Flowers (also known as Vase And Flowers and Vase with Viscaria) is a painting by Vincent van Gogh with an estimated value of US$55 million [1] which was stolen from Cairo's Mohamed Mahmoud Khalil Museum twice; first in 1977 (and recovered after a decade), then again in August 2010 and has yet to be found

Christ in the Storm on the Sea of Galilee is a 1633 oil-on-canvas painting by the Dutch Golden Age painter Rembrandt van Rijn. It was purchased by Bernard Berenson for  Isabella Stewart Gardner in 1869 and was displayed at the Isabella Stewart Gardner Museum in Boston before its theft in 1990; it remains missing

[grntaire]

oomfie you're from the boston area right... i'm going on a trip there (and then to buffalo) next week and if you're willing to spare some hot tips they would be greatly appreciated... especially for like queer shows or clubs or whateva :0 only if you want to spare such info ofc!

omg yeah i got you!!

for queer places my fav is club cafe <3 good vibes generally and their food is LIT. cathedral station is a queer sports bar but it's really just a cool space all-around, and blend in dorchester is great too! be warned it's the last few weeks of this season of drag race so if you're out at a queer place on a friday night it'll be insane to get a spot

for more general things, take a walk through boston common bc it really is gorg! hit up the prudential center and there's restaurants that half rooftop access and i think (?) there's a place at the top where you can see the whole city it's gorgeous :)

faneuil hall/quincy market is def super touristy but the area around there has interesting historical buildings which i think is worth checking out!

boston also has some lit museums: i've been to the aquarium, the museum of science, and the museum of fine arts, and are all super fun! i've never been to the isabella stewart gardner museum but it's up next on my boston list bc a) it's beautiful but also b) it's home to the hightest-value museum art theft in history and they have the empty frames up on the wall which is kind of metal imo.

if you're into classical music i have friends singing at symphony hall in bach's b minor mass next week which if you haven't heard, it's sooooo good

the subways (aka the "t") is... not great but is convenient to get around the city. it runs until about 1am, sometimes almost 2 depending on if it's a weekend or if there's a game at the garden or not. but it's not too tricky to navigate, you're either going inbound or outbound and the lines are all colors. imo it's easier to understand than the mta in new york but i also grew up with it lol

i hope this was helpful & feel free to hit me up as it gets closer! i love boston and as much as massachusetts ppl get a bad rep for being rude it's very much that we're a people who are kind but not nice–any local will gladly help you on your way!

[theoutcastrogue]

Is Stealing a Work of Art Ever Excusable? One Master Thief Claims Yes The world’s greatest living art thief is likely a 52-year-old Frenchman named Stéphane Breitwieser, who has stolen from some 200 museums, taking art worth an estimated total of $2 billion. While working on a book about him, I interviewed Breitwieser extensively, during which he discussed the details of dozens of his heists—and also expressed the brazen belief that his art crimes should be considered forgivable. But only his crimes. Breitwieser said that he didn’t even like being called an art thief, because all other art thieves seemed to be nothing more than art-hating thugs. This includes the most accomplished ones, like the two men who robbed Boston’s Isabella Stewart Gardner Museum on the night of St. Patrick’s Day, 1990. The Gardner thieves assaulted the pair of overnight guards, bound the guards’ eyes and mouths with duct tape, and handcuffed them to pipes in the basement. Then the Gardner robbers yanked down a magnificent Rembrandt seascape, and one of the men stuck a knife in it. Breitwieser can hardly bring himself to imagine it—the blade ripping along the edge of the work, paint flakes spraying, canvas threads ripping, until the masterpiece, released from its stretcher and frame, curled up as if in death throes. The thieves, whose $500 million crime remains unsolved, then moved on to another Rembrandt and did it again. “They’re barbarians,” said Breitwieser. Breitwieser, along with his girlfriend, Anne-Catherine Kleinklaus, who served as lookout on most of his thefts, never resorted to violence, or so much as the threat of violence. They stole from museums only during opening hours, using subtle diversionary tactics that permitted Breitwieser to make things disappear, magician-like, from walls or display cases, while carefully avoiding security cameras and alarm systems. The couple escaped by strolling out a museum’s front door, the artwork usually stashed beneath Breitwieser’s overcoat.

[chitsangenthusiast]

*chin in hands, kicking my feet* care to elaborate on that art heist!zukka tag?

ohh so it's an au that i've talked about on here i think a couple times before but! take this:

combine it with the (iconic) isabella stewart gardner museum theft and you've got art heist au <3

featuring museum security!sokka who really took the job bc he gets free admission and art thief!zuko who...often doesn't have the foggiest about the importance of what he's stealing, he's just taking it. which leads into a good ol' 5+1 where sokka tries to stop zuko from stealing, sure, but mostly spends his time trying to educate this idiot on the things he's trying to steal bc how are you stealing this stuff without any clue what it is you're taking????

a fun little cat-and-mouse situation that's meant to be accompanied with papercrafts inspired by the art pieces that would feature in it, klimt z.ukka was/is actually one of them lol

[totallytrucked]

if they dont figure out who did the isabella stewart gardner museum theft before i die im coming back and haunting until they solve it

[markwatsonsbooks]

Rembrandt, Vermeer, Degas still Missing: (Fiction Based on a True Event) (A Neil Hammer Novel Book 1) Kindle Edition by Anthony Mays

Fast-paced cat & mouse read that at times is unclear who is the cat and who is the mouse. (Based on a true event} Special Agent Neil Hammer is assigned to an old FBI case titled: Operation Old Masters. The case stems from a historical theft on March 18, 1990, from the Isabella Stewart Gardner Museum in Boston in which multiple works of art were stolen. His assignment begins with the Boston mafia, believed to be at the core of the missing masters paintings valued at hundreds of millions of dollars.

Reese Summers, a freelance reporter, is hired by a Boston newspaper editor to look into the recent death of Joey Cardosi. Cardosi happened to be a long-time friend of Alfredo Marino, a mafiosi member believed to be involved with the heist. Intrigued by the puzzling crime in which no arrests or artwork has been recovered, she quickly immerses herself into the underbelly of the criminal world.

The two unlikely, hard-nosed, characters team up to tackle a cold case which has yet to be solved.

Grab YOUR Copy NOW: https://amzn.to/3TQjw3S

[homerstroystory]

today (3/18/2023) marks 33 years since the heist at the Isabella Stewart Gardner Museum in Boston.

in 1990, thirteen works of art were stolen from the museum when two men impersonating police officers were allowed into the museum to respond to a nonexistent disturbance. two security guards at the museum were bound and left in the basement of the museum. over an hour later (81 minutes) the two thieves left the museum with the 13 works (x). since the theft, the Museum has continued to work with the FBI and the and the Attorney General to recover these works and is currently offering up to $10.1 million in rewards for information leading to the return of the stolen works (x).

among the stolen works are several pieces by Rembrandt van Rijn, including his only known seascape, as well as numerous works by Edgar Degas. additionally, an ancient Chinese vessel dating from the 12th century BCE and a Napoleonic standard were taken.

The stolen works include:

The Concert (1663-66) by Johannes Vermeer

Chez Tortoni (c. 1875) by Édouard Manet

Portrait of the Artist as a Young Man (c. 1663) by Rembrandt van Rijn

Landscape with an Obelisk (1638) by Govaert Flinck

Leaving the Paddock (La Sortie du Pesage) (c. 19th century) by Edgar Degas

Study for the Programme de la soirée artistique du 15 juin 1884 (Galerie Ponsin) (1884) by Edgar Degas

Study for the Programme de la soirée artistique du 15 juin 1884 (Galerie Ponsin) (1884) by Edgar Degas

Ancient Chinese Gu, bronze, c. 12th century BCE

Eagle Finial: Insignia of the First Regiment of Grenadiers of Foot of Napoleon's Imperial Guard (1813-14) by Pierre-Philippe Thomire

Procession on a Road near Florence (Cortège sur une route aux environs de Florence) (1857-60) by Edgar Degas

Three Mounted Jockeys (Jockey à cheval) (c. 1885-88) by Edgar Degas

A Lady and Gentleman in Black (1633) by Rembrandt van Rijn

Christ in the Storm on the Sea of Galilee (1633) by Rembrandt van Rijn